Linotype Balder™ is a part of the TakeType Library, winners of Linotype’s International Digital Type Design Contest. Designed by Lutz Baar, Balder is reminiscent of advertisement and poster typefaces of the 1950s and 1960s. It is composed of only capital letters, making it perfect for initials and headlines. Balder looks as though it were written with a broad tipped pen. Its light serifs at the tops of the characters and the slant of some of the strokes give Balder a dynamic feel. |
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Seymour Chwast designed the fun font Chwast Buffalo™ in 1981 and gave it his name. Its extremely robust figures are rendered in regular, even strokes, significantly reducing the inner white spaces. The typeface should therefore only be used in large and very large point sizes. A distinguishing characteristic of Chwast Buffalo is its half-circle serifs, which give the forms a technical, constructed appearance. |
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Claude Sans™ is the work of British designer Alan Meeks. The conservative roman weight is complemented by a more extravagant italic. The proportions are based on those of the original Garamond™ typeface of Claude Garamond, from whom this type gets its name. Claude Sans can be used alone or combined with Claude Sans italic and bold weights. |
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Designed by Colin Brignall in 1965, this somewhat bizarre “computer style” typeface was originally released by Letraset. Over the decades, designers have assumed that Countdown™ was synonymous for almost anything having to do with computers or the first years of hi-technology. Today, though, Countdown is viewed with more of a retro eye. Nevertheless, it is still popular. Countdown looks great on flyers and in pop-art style situations. |
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Digi Antiqua™ font was designed by the Hell Design Studio in 1968. Its basic forms were influenced by the slab serif fonts produced at the beginning of the industrial era in England around 1820. Its clear and timeless forms are extremely legible even in small point sizes. |
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Flight™ is the work of British calligraphic artist Timothy Donaldson, whose specialty is the experimentation with different design tools. Flight is named for the free-flowing lines of its forms which bring to mind a freedom of movement. It was first rendered in pencil using a quick sketching technique. The stem junctions were then carefully thickened to produce a futuristic style without losing its calligraphic origins. The capitals are intended for initialling purposes only. Flight is a lighthearted font with elegant letterforms. |
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Linotype Gavotte™ is based on a design created by the German calligrapher Rudo Spemann in 1940. His style was unmistakable, marked by original ideas and completely new forms. His tendency toward the unusual and adventurous resulted in unique, decorative characters. When he wrote, the tip of his pen flew across the page, leaving behind rows of letters that displayed an almost unbelievable regularity of form and flow. Linotype Gavotte is a perfect example of the best of Spemann’s calligraphy. |
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Litera was designed in 1983 by Michael Neugebauer, who used the same strict constructed design found in his typeface Circulus.
In its figures are the clear geometric forms of the circle, triangle and rectangle, which were also the main forms of Bauhaus designs. The overall look of Litera is modern, clear and light. Distinguishing characteristics are the openness and the e and P and the particularly long cross stroke of the G. The cool Litera is best for middle length texts and headlines.
Similar typefaces include Futura© from Paul Renner and Avenir™ from Adrian Frutiger. |
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Grafiko™, produced by Linotype Design Studio, has an alphabet with little stroke width contrast and tiny triangular serifs similar to those of Copperplate. The forms were obviously influenced by the Jugendstil. The high x-height, for example of the B, E and R, the slope of the N and the close curve of the J makes Grafiko a typical alphabet of the turn of the 20th century. Other distinguishing characteristics are the loop of the g and the slanted, slightly rounded cross stroke of the e. Grafiko is a decorative typeface and its detailed filigree figures are best used in medium point sizes for short texts and headlines. This face is part of the Value Pack Calligraphy for Print 2. |
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This simplified blackletter typeface shares some geometric characteristics with a line of typefaces popular that were especially popular in Germany during the 1920s and 30s. Their forms may have originally come about after a desire to mix the classical “Fraktur” forms found in typefaces like Luthersche Fraktur™ or Fette Fraktur™ with more modern sans serif typefaces, like Basic Commercial™ or Futura©. ITC Honda’s letters are rather narrow and angular. The type can be used for a number of headlines or logo purposes, and is best legible when set large. A similar typeface in our library is Linotype Gotharda™. |
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Linotype Labyrinth™ was designed by Frank Marculiano, a US graphic designer whose letterform ideas are based in specific cases. The letterforms of play with that theme. Used for invitations or headlines. |
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Persona™ is based on characters texted with a brush and found on a poster made for the Swedish poetry magazine Lyrikvännen. While the characters in Manuskript are typographically and calligraphically done with great skill, the ones in Persona carry a highly personal touch. Still, they are fully usable – for the right kind of work.
The name refers to the personal shaping of the characters. In Esperanto, which contributed with the name once more, “persona” means “personal”. Persona was released in 1995. |
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Linotype Reducta™ is a part of the TakeType Library, selected from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. It was designed by Austrian artist Herbert O. Modelhart with only a small number of constant form elements. The cool and technical Linotype Reducta is intended exclusively for headlines in large point sizes. |
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Linotype Sindbad™ was created to keep the old tradition of ornamental design in the Sultanat of Oman alive by the means of modern technology. All types can stand as a single symbol, but can also be linked together to ornamental lines or carpets. |
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